Australian Chamber Orchestra concert 25 October 2009 - The Girl with Golden Flute

Featuring:
- Handel Concerto Gross, Op. 6 No. 7
- Peteris Vasks Vox amoris: Fantasy for violin and strings - World Premiere
- Carl Vine Pipe Dreams
- Jose Serebrier Flute Concerto - World Premiere
- Tchaikovsky Serenade for Strings

Sharon Bezaly - Flute
Richard Tognetti - Artistic Director and Lead Violin

Tchaikovsky's Serenade for Strings was the reason I looked forward to this concert. This little gem has a particular charm of it that I can't resist. ACO's trademark sound worked well and it's always nice to hear the counterpoints and accompanying melodies clearly in this melodic driven piece. The players seemed to enjoy themselves while playing this, I caught a few smiles here and there during a delightful passage.

Another high point of the concert is Peteris Vasks' Vox Amoris. Richard Tognetti's solo violin was at the highest intensity and soared above the orchestra. The performance was even more heartfelt with a beautiful writing by Vasks. While the technical demand was enormous for the solo violin in both cadenzas, Vasks avoid turning this piece to a virtuoso showpiece by carefully injecting a gorgeous cantabile melody in the end. The composer who was present, took a couple of deserved bows from an enthusiastic audience.

The rest of the programs were a bit of a let down in one way or another. While Handel's Concerto Grosso contain some fine passages, the piece itself is not that eventful. The biggest let down for me was the performance of the two flute pieces by Sharon Bezaly. Both pieces failed to catch my attention and left me cold. I wasn't sure why, maybe I paid too much attention to the flautist herself. I do not have any idea on how to play a flute, and failed to see her virtuosity in both pieces. Sure, there are long passages with plenty of running semiquavers, and they're executed brilliantly, but I have some reservations with the tone of the flute. I was expecting a clear, sharp articulation but most of the time I was troubled by a muffled tone from the soloist. It also doesn't help when the orchestra overwhelms it. I was impressed however, at one point, Bezaly could hold a particular note for a seemingly long time (due to circular breathing, I presume). And for what it's worth, I was more impressed with Bezaly's performance during the slower section where I can appreciate the 'warmth' tone of her flute. Due to all of the factors above, I couldn't say that I enjoyed this concert very much.